AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head
Speakers Corner / Verve - V 8359-42 - 180 Gram Virgin Vinyl -
Deluxe 4 Disc Box Set - Booklet - Limited Edition
Pure Analogue Audiophile Mastering - Pressed at Pallas Germany
Verve V-8539 , V-8540 , V-8541 , V-8542
Speakers Corner 25 Years pure Analogue
The sheer clarity of this remaster is stunning. Highly recommended. HIFI World
Every Speakers Corner pressing I have heard has been exceptional -- free of sonic artifacts and very quiet to the very bottom of the groove. precious. While 45rpm remastered LPs are all the rage right now, the historic significance and first-class presentation of this set trumps a good many of them. - TheAudioBeat
Never re-released, these four LPs have become true collector's items. Now - after almost 50 years - they are once again available for your pure enjoyment.
The number of jazz fans who heard the live concert series "Jazz At The Philharmonic" must be fairly diminished by now. Nevertheless, these sessions still enjoy legendary status in the 21st century.
The concert promoter Norman Granz took his giants of jazz to Europe in the mid-Fifties. Oscar Peterson, Illinois Jacquet and Ella Fitzgerald were the great names, which caused fans in Hamburg, Berlin, Paris and Brussels to leap from their seats with enthusiasm, and in November 1960 they were followed by the encounters between young and old, and between white and black soloists. At the concert on 21 November in the packed Konserthuset in Stockholm, Coleman Hawkins, Benny Carter and Don Byas met up with Stan Getz, Cannonball Adderley, Leo Wright and J. J. Johnson – the stylistic link being provided by the two trumpeters Roy Eldridge and Dizzy Gillespie. The themes opened up new perspectives too: "Bernie’s Tune", "Kush", "All The Things You Are" and "Trotting" are clearly audible as real challenges for the old hands. And the younger musicians – several of them who were counted among the avant-garde – follow admirably in their footsteps: for example Stan Getz yet free from bossa nova clichés; Cannonball Adderley, full of soul and a funky sound; and a groovy and grooving J. J. Johnson.
Although the JATP jam sessions had undoubtedly reached their zenith in the Forties, the recordings made in November 1960 for Norman Granz’s Verve label offer a wealth of great listening and points of discussion. Never re-released, the four LPs have become true collectors’ items. Now – after almost 50 years – they are once again available for your pure enjoyment.
Every Speakers Corner pressing I have heard has been exceptional -- free of sonic artifacts and very quiet to the very
bottom of the groove. precious. While 45rpm remastered LPs are all the rage right now, the historic significance and first-class presentation
of this set trumps a good many of them. - TheAudioBeat
Record producer and promoter, Norman Grantz began a series of collective shows, back in 1944, which featured a jazz-based, all-star, cast that was entitled Jazz At The Philharmonic. Originally arranged as a charity fundraiser, the successful event took on a life of its own as was repeated many times with changing line-ups depending on who was available and who was hot to trot. Eventually, the ensemble was taken on foreign tours and now, via Speakers Corner, you can buy a chunk of one of the tours. Specifically, from 21st November 1960, in the Konserthuset, Stockholm, Sweden.
Within the pizza-style container sit four, beautifully mastered, LPs that represent four individual albums, released to commemorate the event, featuring greats such as Dizzy Gillespie, Cannonball Adderley, Stan Getz, Benny Carter, Roy Eldridge and, a little unusually, Lalo Schifrin. This is the first time the four LPs have been collected together and the first time that the albums have been re-issued.
Arriving with an LP-sized booklet, each album is presented as a single entity with an inner sleeve and card outer sleeve with full cover art and its own liner notes on the rear.
One of the most intriguing aspects of the whole Jazz At The Philharmonic project was the fact that so many stars were involved. All of the musicians and vocalists were stars in their own right, with egos to match.
Listening to these disks, the apparent relationship seems good and it helps the music, giving a certain glue or bond to the performance. There appears, on the fact of it, to be an element of camaraderie. Yet, how far did this run? Was it all ‘show’ for the audience? Did these performances reveal a smile on stage only to revert to knifes in the back, off it?
There were, apparently, no arguments. As sometime performer, drummer, Buddy Rich himself explained, there was a surprising amount of harmony on these tours, “I did six or seven tours with Norman and I don’t think that there was ever a time on any tour, no-matter where we travelled to, where there was a feeling of animosity. Jealousy or ego never became involved in the music because Grantz was enough of a showman to give everybody a chance. He would let us all play. Everyone had a chance to produce. If they didn’t produce, that was your problem.”
And that’s what you can certainly hear here. Whether it be Stan Getz on tenor sax, J.J Johnson on trombone or Dizzy Gillespie on trumpet, there is certainly a sense of ‘gay abandon’, in the original sense of the phrase, on these recordings that definitely helps both the atmosphere and quality of the recording.
Considering that this is a live recording, the inky black silences, where appropriate, draw you right into each performance which lights up with vitality and energy. The sheer clarity of this remaster is stunning. Highly recommended.
Made from the Original Analogue Mastertapes
Only The Best Mastering Studios Worldwide
Pure Analogue Audiophile Mastering - AAA 100% Analogue
180g High Quality Virgin Vinyl Presed & Plated at Pallas in Germany
Faithful reproduction of Original artwork and labels
Limited Edition - All licences and mechanical Rights Paid
Cannonball Adderley, alto saxophone (LP 1, Side 1)
Dizzy Gillespie, trumpet (LP 1, Side 1; LP 2; LP 4)
Benny Carter, alto saxophone (LP 1, Side 1; LP 3)
Chuck Lampkin, drums (LP 1, Side 1; LP 4)
J.J. Johnson, trombone (LP 1, Side 1; LP 2; LP 4)
Lalo Schifrin, piano (LP 1; LP 3; LP 4)
Art Davis, bass (LP 1; LP 3; LP 4)
Stan Getz, tenor saxophone (LP 1, Side 2; LP 2; LP 4)
Coleman Hawkins, tenor saxophone (LP 1, Side 2; LP 3)
Don Byas, tenor saxophone (LP 1, Side 2; LP 3)
Roy Eldridge, trumpet (LP 1, Side 2; LP 3)
Jo Jones (LP 1, Side 2; LP 3)
Victor Feldman, vibes, piano (LP 2)
Sam Jones, bass (LP 2)
Louis Hayes, drums (LP 2)
Leo Wright, alto saxophone, flute (LP 4)
Candido, conga drums (LP 4)
LP 1 - V-8539
1. Bernie's Tune
2. Swedish Jam
1. All The Things You Are
LP 2 - V-8540
1. Sweet Georgia Brown
2. Bop 'n Boogie
1. I Waited For You
LP 3 - V-8541
1. Take The "A" Train
2. Indiana (Back Home Again)
1. These Foolish Things (Remind Me Of You)
3. The Nearness Of You
4. You Got To My Head
5. A Jazz Portrait of Brigitte Bardot
LP 4 - V-8542
1. The Mooch
2. Wheatleigh Hall
Recorded live at the Jazz At The Philharmonic In Europe tour, in the Konserthuset, Stockholm on November 21, 1960.
20 Years pure Analogue
This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head 20 Years pure Analogue
Are your records completely analogue?
Yes! This we guarantee!
As a matter of principle, only analogue masters are used, and the necessary cutting delay is also analogue. All our cutting engineers use only Neumann cutting consoles, and these too are analogue. The only exception is where a recording has been made – either partly or entirely – using digital technology, but we do not have such items in our catalogue at the present time
Are your records cut from the original masters?
In our re-releases it is our aim to faithfully reproduce the original intentions of the musicians and recording engineers which, however, could not be realised at the time due to technical limitations. Faithfulness to the original is our top priority, not the interpretation of the original: there is no such thing as a “Speakers Corner Sound”. Naturally, the best results are obtained when the original master is used. Therefore we always try to locate these and use them for cutting. Should this not be possible, – because the original tape is defective or has disappeared, for example – we do accept a first-generation copy. But this remains an absolute exception for us.
Who cuts the records?
In order to obtain the most faithful reproduction of the original, we have the lacquers cut on the spot, by engineers who, on the whole, have been dealing with such tapes for many years. Some are even cut by the very same engineer who cut the original lacquers of the first release. Over the years the following engineers have been and still are working for us: Tony Hawkins, Willem Makkee, Kevin Gray, Maarten de Boer, Scott Hull, and Ray Staff, to name but a few.
At the beginning of the ‘90s, in the early days of audiophile vinyl re-releases, the reissue policy was fairly straightforward. Companies such as DCC Compact Classics, Mobile Fidelity, Classic Records and others, including of course Speakers Corner, all maintained a mutual, unwritten code of ethics: we would manufacture records sourced only from analogue tapes.
Vinyl’s newfound popularity has led many other companies to jump on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source from which to master: CDs, LPs, digital files and even MP3s.
Even some who do use an analogue tape source employ a digital delay line, a misguided ’80s and ‘90s digital technology that replaces the analogue preview head originally used to “tell” the cutter head in advance what was about to happen musically, so it could adjust the groove “pitch” (the distance between the grooves) to make room for wide dynamic swings and large low frequency excursions. Over time analogue preview heads became more rare and thus expensive.
So while the low bit rate (less resolution than a 16 bit CD) digital delay line is less expensive and easier to use than an analogue “preview head”, its use, ironically, results in lacquers cut from the low bit rate digital signal instead of from the analogue source!
Speakers Corner wishes to make clear that it produces lacquers using only original master tapes and an entirely analogue cutting system. New metal stampers used to press records are produced from that lacquer. The only exceptions are when existing metal parts are superior to new ones that might be cut, which includes our release of “Elvis is Back”, which was cut by Stan Ricker or several titles from our Philips Classics series, where were cut in the 1990s using original master tapes by Willem Makkee at the Emil Berliner Studios. In those cases we used only the original “mother” to produce new stampers.
In addition, we admit to having one digital recording in our catalogue: Alan Parsons’ “Eye in the Sky”, which was recorded digitally but mixed to analogue tape that we used to cut lacquers.
In closing, we want to insure our loyal customers that, with but a few exceptions as noted, our releases are “AAA”— analogue tape, an all analogue cutting system, and newly cut lacquers.
60 Years Pallas
Audiophile Vinyl - Made in Germany For over 60 years the family business in the third generation of the special personal service and quality "Made by Pallas" is known worldwide. Our custom PVC formulation produces consistently high pressing quality with the lowest surface noise in the industry. Our PVC complies with 2015 European environmental standards and does not contain toxic materials such as Lead, Cadmium or Toluene. Our vinyl is both audiophile and eco-grade!